SKU: UT.MAG-274
ISBN 9790215326859. 9 x 12 inches.
Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.
SKU: FG.55011-912-3
ISBN 9790550119123.
Luonnonjumala (God of Nature) is Tauno Marttinen’s adaption for harp of his piano suite Taara op. 34. The manuscript for harp was found in January 2024 by Rauno Marttinen, composer’s son.Duration: c. 15’Movements:1. Virran ääniä | The Voices of the Stream2. Luonnonjumalan lähde | The Spring of God of Nature3. Metsässä tuulee |The Wind Blows through the ForestTauno Marttinen (1912–2008) studied in Viipuri and later in Helsinki at the Helsinki Conservatoire. His piano teachers were Ilmari Hannikainen and Selim Palmgren, but he soon became increasingly interested in composing. Marttinen was also the conductor of the Hämeenlinna City Orchestra in 1949−1958 and the founder and principal of the Hämeenlinna Music Institute.Marttinen started his composing career in late Romantic vein. However, his first concerts in the 1940s met with criticism since the winds of Modernism had already landed in Finland. He then became interested in Dodecaphony and studied under Vladimir Vogel in Ascona but later abandoned strict dodecaphony and found his own, personal style incorporating elements from Neo-classicism and free-tonality with a hint of mysticism – he was called the Shaman of Hämeenlinna (his hometown).Tauno Marttinen was an incredibly productive composer; he wrote around four hundred works with opus numbers as well as a wealth of other pieces. His oeuvre includes 10 symphonies, concertos for various solo instruments, operas as well as vocal, chamber and instrumental works. Many of Marttinen’s pieces have become popular standard repertoire, such as the piano piece Kimalluksia (Gleams).
SKU: ST.H495
ISBN 9790220224942.
Set for the Trinity examinations, Grade 3, Skylark is an atmospheric musical impression for pedal or non-pedal harp of the view from the composer's home, overlooking the farmland and broad aerial vistas of Norfolk. Contrasting textures of open arpeggios and accompanied melody convey the various stages of the bird's flight, and its singing from on high, rising to the climax of its song on a musical 'thermal' of sustained, arpeggiated chords before a descent to rest in pastureland. Contemplative, even quietly ecstatic in mood, Skylark will prove an effective element in balanced programme-building, whether as required by the Trinity syllabus, or as engaging repertoire for young players.
SKU: PR.110406720
UPC: 680160001316.
I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler.
SKU: MB.30367M
ISBN 9780786696345. 8.75 x 11.75 inches.
In this book and accompanying audio, Autoharp hall of famer Evo Bluestein provides a beginning approach to a repertoire of songs and fiddle tunes popular in old-time and bluegrass circles. Basic rhythm, chord accompaniment, lyrics and music notation make this book useful for other lead instruments as well, including fiddle, mandolin and voice. A more advanced approach can be found in Evo Bluesteins book Autoharp in Four Easy Steps, published by Mel Bay. More books and DVDs are available at www.evobluestein.com. Bluestein is known as an expert player in the style pioneered by the late Autoharp master Kilby Snow. Bluestein has also developed two successful and popular brands of Autoharp, The Evoharp and the Sparrowharp, built by two world class Autoharp luthiers. In addition to helping many adults learn music on the Autoharp for over thirty years, children in numerous schools have learned to play and sing using the Autoharp in programs that Bluestein has implemented. He is also an accomplished dance caller, teaching folk dance as an independent contractor throughout California schools. Bluestein is co-founder of the California Autoharp Gathering. Includes access to online audio featuring Evo Bluestein.
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